Dedicado a todos los hermanos en Latinoamerica y España, y a toda comunidad hispanoparlante, la diversidad cultural, la riqueza del lenguaje y las personas que intentaron hablar español alguna vez y no lo lograron.
Guitarra, voz y composición: Juan Andrés y Nicolás Ospina
Cámara y fotografía: Santiago Forero
Pueden encontrar la letra y leer un poco más acerca de nosotros dos en http://www.intentalocarito.wordpress.com
Mostrando entradas con la etiqueta VIDEOS. Mostrar todas las entradas
Mostrando entradas con la etiqueta VIDEOS. Mostrar todas las entradas
lunes, 12 de marzo de 2012
lunes, 13 de febrero de 2012
COMO PRONUNCIAMOS LOS ESPAÑOLES
Una CÓMICA versión de cómo los españoles (de Andalucía) pronuncian algunas palabras inglesas.
A witty interpretation of how Spanish people pronounce some English words. Have fun!
A witty interpretation of how Spanish people pronounce some English words. Have fun!
lunes, 31 de octubre de 2011
LEONARD COHEN´S SPEECH IN SPAIN
It is a great honour to stand here before you tonight. Perhaps, like the great maestro, Riccardo Muti, I’m not used to standing in front of an audience without an orchestra behind me, but I will do my best as a solo artist tonight.
I stayed up all night last night wondering what I might say to this assembly. After I had eaten all the chocolate bars and peanuts from the minibar, I scribbled a few words. I don’t think I have to refer to them. Obviously, I’m deeply touched to be recognized by the Foundation. But I have come here tonight to express another dimension of gratitude; I think I can do it in three or four minutes.
When I was packing in Los Angeles, I had a sense of unease because I’ve always felt some ambiguity about an award for poetry. Poetry comes from a place that no one commands, that no one conquers. So I feel somewhat like a charlatan to accept an award for an activity which I do not command. In other words, if I knew where the good songs came from I would go there more often.
I was compelled in the midst of that ordeal of packing to go and open my guitar. I have a Conde guitar, which was made in Spain in the great workshop at number 7 Gravina Street. I pick up an instrument I acquired over 40 years ago. I took it out of the case, I lifted it, and it seemed to be filled with helium it was so light. And I brought it to my face and I put my face close to the beautifully designed rosette, and I inhaled the fragrance of the living wood. We know that wood never dies. I inhaled the fragrance of the cedar as fresh as the first day that I acquired the guitar. And a voice seemed to say to me, “You are an old man and you have not said thank you, you have not brought your gratitude back to the soil from which this fragrance arose. And so I come here tonight to thank the soil and the soul of this land that has given me so much.
Because I know that just as an identity card is not a man, a credit rating is not a country.
Now, you know of my deep association and confraternity with the poet Frederico Garcia Lorca. I could say that when I was a young man, an adolescent, and I hungered for a voice, I studied the English poets and I knew their work well, and I copied their styles, but I could not find a voice. It was only when I read, even in translation, the works of Lorca that I understood that there was a voice. It is not that I copied his voice; I would not dare. But he gave me permission to find a voice, to locate a voice, that is to locate a self, a self that that is not fixed, a self that struggles for its own existence.
As I grew older, I understood that instructions came with this voice. What were these instructions? The instructions were never to lament casually. And if one is to express the great inevitable defeat that awaits us all, it must be done within the strict confines of dignity and beauty.
And so I had a voice, but I did not have an instrument. I did not have a song.
And now I’m going to tell you very briefly a story of how I got my song.
I was an indifferent guitar player. I managed a few chords. I only knew a few of them. I sat around with my college friends, drinking and singing the folk songs and the popular songs of the day, but I never in a thousand years thought of myself as a musician or as a singer.
One day in the early sixties, I was visiting my mother’s house in Montreal. Her house was beside a park and in the park was a tennis court where many people come to watch the beautiful young tennis players enjoy their sport. I wandered back to this park which I’d known since my childhood, and there was a young man playing a guitar. He was playing a flamenco guitar, and he was surrounded by two or three girls and boys who were listening to him. I loved the way he played. There was something about the way he played that captured me. It was the way that I wanted to play and knew that I would never be able to play.
Ver mapa más grande
And, I sat there with the other listeners for a few moments and when there was a silence, an appropriate silence, I asked him if he would give me guitar lessons. He was a young man from Spain, and we could only communicate in my broken French and his broken French. He didn’t speak English. And he agreed to give me guitar lessons. I pointed to my mother’s house which you could see from the tennis court, and we made an appointment and settled a price.
He came to my mother’s house the next day and he said, “Let me hear you play something.” I tried to play something, and he said, “You don’t know how to play, do you?’
I said, “No, I don’t know how to play.” He said “First of all, let me tune your guitar. It’s all out of tune.” So he took the guitar, and he tuned it. He said, “It’s not a bad guitar.” It wasn’t the Conde, but it wasn’t a bad guitar. So, he handed it back to me. He said, “Now play.”
I couldn’t play any better.
He said “Let me show you some chords.” And he took the guitar, and he produced a sound from that guitar I had never heard. And he played a sequence of chords with a tremolo, and he said, “Now you do it.” I said, “It’s out of the question. I can’t possibly do it.” He said, “Let me put your fingers on the frets,” and he put my fingers on the frets. And he said, “Now, now play.”
It was a mess. He said, ” I’ll come back tomorrow.”
He came back tomorrow, he put my hands on the guitar, he placed it on my lap in the way that was appropriate, and I began again with those six chords – a six chord progression. Many, many flamenco songs are based on them.
I was a little better that day. The third day – improved, somewhat improved. But I knew the chords now. And, I knew that although I couldn’t coordinate my fingers with my thumb to produce the correct tremolo pattern, I knew the chords; I knew them very, very well.
The next day, he didn’t come. He didn’t come. I had the number of his, of his boarding house in Montreal. I phoned to find out why he had missed the appointment, and they told me that he had taken his life. That he committed suicide.
I knew nothing about the man. I did not know what part of Spain he came from. I did not know why he came to Montreal. I did not know why he played there. I did not know why he he appeared there at that tennis court. I did not know why he took his life.
I was deeply saddened, of course. But now I disclose something that I’ve never spoken in public. It was those six chords, it was that guitar pattern that has been the basis of all my songs and all my music. So, now you will begin to understand the dimensions of the gratitude I have for this country.
Everything that you have found favourable in my work comes from this place. Everything , everything that you have found favourable in my songs and my poetry are inspired by this soil.
So, I thank you so much for the warm hospitality that you have shown my work because it is really yours, and you have allowed me to affix my signature to the bottom of the page.
I stayed up all night last night wondering what I might say to this assembly. After I had eaten all the chocolate bars and peanuts from the minibar, I scribbled a few words. I don’t think I have to refer to them. Obviously, I’m deeply touched to be recognized by the Foundation. But I have come here tonight to express another dimension of gratitude; I think I can do it in three or four minutes.
When I was packing in Los Angeles, I had a sense of unease because I’ve always felt some ambiguity about an award for poetry. Poetry comes from a place that no one commands, that no one conquers. So I feel somewhat like a charlatan to accept an award for an activity which I do not command. In other words, if I knew where the good songs came from I would go there more often.
I was compelled in the midst of that ordeal of packing to go and open my guitar. I have a Conde guitar, which was made in Spain in the great workshop at number 7 Gravina Street. I pick up an instrument I acquired over 40 years ago. I took it out of the case, I lifted it, and it seemed to be filled with helium it was so light. And I brought it to my face and I put my face close to the beautifully designed rosette, and I inhaled the fragrance of the living wood. We know that wood never dies. I inhaled the fragrance of the cedar as fresh as the first day that I acquired the guitar. And a voice seemed to say to me, “You are an old man and you have not said thank you, you have not brought your gratitude back to the soil from which this fragrance arose. And so I come here tonight to thank the soil and the soul of this land that has given me so much.
Because I know that just as an identity card is not a man, a credit rating is not a country.
Now, you know of my deep association and confraternity with the poet Frederico Garcia Lorca. I could say that when I was a young man, an adolescent, and I hungered for a voice, I studied the English poets and I knew their work well, and I copied their styles, but I could not find a voice. It was only when I read, even in translation, the works of Lorca that I understood that there was a voice. It is not that I copied his voice; I would not dare. But he gave me permission to find a voice, to locate a voice, that is to locate a self, a self that that is not fixed, a self that struggles for its own existence.
As I grew older, I understood that instructions came with this voice. What were these instructions? The instructions were never to lament casually. And if one is to express the great inevitable defeat that awaits us all, it must be done within the strict confines of dignity and beauty.
And so I had a voice, but I did not have an instrument. I did not have a song.
And now I’m going to tell you very briefly a story of how I got my song.
I was an indifferent guitar player. I managed a few chords. I only knew a few of them. I sat around with my college friends, drinking and singing the folk songs and the popular songs of the day, but I never in a thousand years thought of myself as a musician or as a singer.
One day in the early sixties, I was visiting my mother’s house in Montreal. Her house was beside a park and in the park was a tennis court where many people come to watch the beautiful young tennis players enjoy their sport. I wandered back to this park which I’d known since my childhood, and there was a young man playing a guitar. He was playing a flamenco guitar, and he was surrounded by two or three girls and boys who were listening to him. I loved the way he played. There was something about the way he played that captured me. It was the way that I wanted to play and knew that I would never be able to play.
Ver mapa más grande
And, I sat there with the other listeners for a few moments and when there was a silence, an appropriate silence, I asked him if he would give me guitar lessons. He was a young man from Spain, and we could only communicate in my broken French and his broken French. He didn’t speak English. And he agreed to give me guitar lessons. I pointed to my mother’s house which you could see from the tennis court, and we made an appointment and settled a price.
He came to my mother’s house the next day and he said, “Let me hear you play something.” I tried to play something, and he said, “You don’t know how to play, do you?’
I said, “No, I don’t know how to play.” He said “First of all, let me tune your guitar. It’s all out of tune.” So he took the guitar, and he tuned it. He said, “It’s not a bad guitar.” It wasn’t the Conde, but it wasn’t a bad guitar. So, he handed it back to me. He said, “Now play.”
I couldn’t play any better.
He said “Let me show you some chords.” And he took the guitar, and he produced a sound from that guitar I had never heard. And he played a sequence of chords with a tremolo, and he said, “Now you do it.” I said, “It’s out of the question. I can’t possibly do it.” He said, “Let me put your fingers on the frets,” and he put my fingers on the frets. And he said, “Now, now play.”
It was a mess. He said, ” I’ll come back tomorrow.”
He came back tomorrow, he put my hands on the guitar, he placed it on my lap in the way that was appropriate, and I began again with those six chords – a six chord progression. Many, many flamenco songs are based on them.
I was a little better that day. The third day – improved, somewhat improved. But I knew the chords now. And, I knew that although I couldn’t coordinate my fingers with my thumb to produce the correct tremolo pattern, I knew the chords; I knew them very, very well.
The next day, he didn’t come. He didn’t come. I had the number of his, of his boarding house in Montreal. I phoned to find out why he had missed the appointment, and they told me that he had taken his life. That he committed suicide.
I knew nothing about the man. I did not know what part of Spain he came from. I did not know why he came to Montreal. I did not know why he played there. I did not know why he he appeared there at that tennis court. I did not know why he took his life.
I was deeply saddened, of course. But now I disclose something that I’ve never spoken in public. It was those six chords, it was that guitar pattern that has been the basis of all my songs and all my music. So, now you will begin to understand the dimensions of the gratitude I have for this country.
Everything that you have found favourable in my work comes from this place. Everything , everything that you have found favourable in my songs and my poetry are inspired by this soil.
So, I thank you so much for the warm hospitality that you have shown my work because it is really yours, and you have allowed me to affix my signature to the bottom of the page.
PARA LEER DETALLES DE ESTE PERSONAJE, O VER EL MISMO VIDEO SUBTITULADO EN CASTELLANO : HAZ CLICK AQUI
lunes, 11 de julio de 2011
lunes, 4 de julio de 2011
lunes, 2 de mayo de 2011
lunes, 21 de febrero de 2011
MARK ZUCKERBERG - FACEBOOK
THE GREAT NAMES 36 - BIOGRAFIA - ¿QUE ES FACEBOOK?
Mark Zuckerberg (14 de mayo de 1984, White Plains, Estados Unidos), es un programador y empresario estadounidense conocido por ser el creador de Facebook.
Para desarrollar la red, Zuckerberg contó con el apoyo de sus compañeros de Harvard, el coordinador de Ciencias de la computación y sus compañeros de habitación Eduardo Saverin, Dustin Moskovitz y Chris Hughes. Actualmente es el personaje más joven que aparece en Forbes con una fortuna valorada en más de 6.900 millones de dólares. Fue nombrado como Persona del Año en 2010 por la revista estadounidense Time Magazine.
A continuación (gracias a una colaboración con GRAN CINE FISTERRA) podreis ver LA RED SOCIAL (THE SOCIAL NETWORK) que es realidad una biografia (no autorizada) de este gran personaje:
lunes, 25 de octubre de 2010
RYANAIR CHEAP OR EXPENSIVE ?
WIKIPEDIA
En el siguiente video se explican los secretos de Ryanair gracias a una documental realizada con la ayuda de dos azafatas-periodistas infiltradas en la empresa. (hablada y parcialmente subtitulada en inglés). Si no tienes un buen nivel de inglés entenderás poco, pero siempre es bueno oir para ejercitar tu oido y cuantos más videos veas más mejorará tu LISTENING.
lunes, 17 de mayo de 2010
I AM AS MAD AS HELL AND I AM
NOT GOING TO TAKE THIS ANYMORE.
I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's worth; banks are going bust; shopkeepers keep a gun under the counter; punks are running wild in the street, and there's nobody anywhere who seems to know what to do, and there's no end to it.
We know the air is unfit to breathe and our food is unfit to eat. And we sit watching our TVs while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be!
We all know things are bad -- worse than bad -- they're crazy.
It's like everything everywhere is going crazy, so we don't go out any more. We sit in the house, and slowly the world we're living in is getting smaller, and all we say is, "Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials, and I won't say anything. Just leave us alone."
Well, I'm not going to leave you alone.
I want you to get mad!
I don't want you to protest. I don't want you to riot. I don't want you to write to your Congressman, because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street.
All I know is that first, you've got to get mad.
You've gotta say, "I'm a human being, goddammit! My life has value!"
So, I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window, open it, and stick your head out and yell,
"I'm as mad as hell,
and I'm not going to take this anymore!!"
Si quieres contribuir a esta campaña con tu firma HAZ CLICK AQUI.
Howard Beale hizo la siguiente escena en la pelicula NETWORK (1976)
I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's worth; banks are going bust; shopkeepers keep a gun under the counter; punks are running wild in the street, and there's nobody anywhere who seems to know what to do, and there's no end to it.
We know the air is unfit to breathe and our food is unfit to eat. And we sit watching our TVs while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be!
We all know things are bad -- worse than bad -- they're crazy.
It's like everything everywhere is going crazy, so we don't go out any more. We sit in the house, and slowly the world we're living in is getting smaller, and all we say is, "Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials, and I won't say anything. Just leave us alone."
Well, I'm not going to leave you alone.
I want you to get mad!
I don't want you to protest. I don't want you to riot. I don't want you to write to your Congressman, because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street.
All I know is that first, you've got to get mad.
You've gotta say, "I'm a human being, goddammit! My life has value!"
So, I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window, open it, and stick your head out and yell,
"I'm as mad as hell,
and I'm not going to take this anymore!!"
De esta famosa escena se saco la idea para hacer la protesta actual contra el hambre en el mundo :
Si quieres contribuir a esta campaña con tu firma HAZ CLICK AQUI.
martes, 8 de diciembre de 2009
LINGUALNET
Este es un sistema para practicar nuestro ingles con películas cortas o trailers, al cargar la película hay un hombrecillo caminando, espera a que acabe de caminar y p
odrás ver la película.
Existe un link permanente a esta pagina en ENGLISH EXERCISES AND MORE (debajo de English Links, a la derecha de nuestra pagina) en el apartado ENGLISH VIDEO.
odrás ver la película.La única manera de agrandar la imagen es utilizar tu propio sistema de incremento de imagen (en la esquina inferior derecha de tu pantalla - 200 % - 400%).
Aquí debajo tienes las indicaciones con la mejor manera de aprovechar esto :
Lingual Net Method
We recommend that you watch each movie 3 times.
We recommend that you watch each movie 3 times.
The first time, watch without subtitles. Try to understand the BIG IDEAS of the movies.
The second time, watch with subtitles. Pause as often as you like. Try to understand MORE DETAILS.
Then take the quiz. Check your answers.
Finally, watch the movie one more time, without subtitles. ENJOY the movie!
After that, give your opinion of the movie in the Give A Comment section.
Enjoy your time at Lingual Net and come back often!!
The second time, watch with subtitles. Pause as often as you like. Try to understand MORE DETAILS.
Then take the quiz. Check your answers.
Finally, watch the movie one more time, without subtitles. ENJOY the movie!
After that, give your opinion of the movie in the Give A Comment section.
Enjoy your time at Lingual Net and come back often!!
Existe un link permanente a esta pagina en ENGLISH EXERCISES AND MORE (debajo de English Links, a la derecha de nuestra pagina) en el apartado ENGLISH VIDEO.
martes, 23 de junio de 2009
REAL ENGLISH
Este es un sistema para mejorar nuestro inglés ejercitando nuestro LISTENING (oído) y corrigiendo nuestra pronunciación.
Se sabe que frecuentemente pronunciamos mal porque "no nos oímos". Cuando escuchamos nuestra voz después de haber sido gravada no nos parece la nuestra.
2 - Click on the Exercises button and do all the exercises!
3 - Come back to this page and watch the video with subtitles.
Existe un link permanente a esta pagina en ENGLISH EXERCISES AND MORE (debajo de English Links, a la derecha de nuestra pagina) en el apartado ENGLISH VIDEO.
Se sabe que cuanto más inglés oigamos más mejorara nuestra comprensión.
Se sabe que frecuentemente pronunciamos mal porque "no nos oímos". Cuando escuchamos nuestra voz después de haber sido gravada no nos parece la nuestra.
Por lo tanto, si gravamos nuestra voz y la comparamos con la de un profesor, nosotros mismos nos daremos cuenta de las diferencias y podremos corregirlas.
How to do a Real English Lesson:
1 - Watch the video without subtitles. This is the first video on this page.
1 - Watch the video without subtitles. This is the first video on this page.
2 - Click on the Exercises button and do all the exercises!
3 - Come back to this page and watch the video with subtitles.
Existe un link permanente a esta pagina en ENGLISH EXERCISES AND MORE (debajo de English Links, a la derecha de nuestra pagina) en el apartado ENGLISH VIDEO.
viernes, 10 de octubre de 2008
USA ELECTIONS 2 - ECONOMIC CRISIS
VER USA ELECTIONS 1 - ULTIMAS ENCUESTAS -
WIKIPEDIA
El 4 de Noviembre serán las elecciones en Estados Unidos.
En ese momento el pais estará al mismo tiempo empezando la crisis economica más grande su historia.
Esto provoca chistes como estos.
Esta visto que las decisiones que se toman en ese pais nos afectan a todos y sin embargo no podemos votar.
Pues si quieres haz click aqui debajo para votar y asi veremos como hubiese votado el resto del mundo:
IF THE WORLD COULD VOTE
En este video se ve por quien va a votar Homer Simpson.
Este post se ha editado conjuntamente con :
viernes, 8 de agosto de 2008
YAPPR - VIDEOS HABLADOS EN INGLES CON SUBTITULOS EN INGLÉS Y CASTELLANO
En esta pagina podremos ver y oir infinidad de videos hablados en inglés con subtitulos en inglés y castellano.Los videos estan clasificados por orden de dificultad en: FACIL, MEDIO y DIFICIL.
Y si nos registramos en la pagina podremos : participar en un chat mundial de estudiantes de inglés y contribuir con nuestros videos o ayudar a traducir letras, etc.
Es una pagina de gran calidad, muy bien organizada y sumamente util para mejorar nuestra comprensión auditiva (LISTENING)
A partir de ahora existirá un link permanente a esta pagina en ENGLISH EXERCISES AND MORE (debajo de English Links, a la derecha de nuestra pagina)
viernes, 28 de marzo de 2008
VAUGHAN TELEVISION
Hace un año hablabamos aqui de VAUGHAN RADIOPues ahora ya esta en servicio VAUGHAM TELEVISION
En esta pagina encontraras cada semana nuevos videos de gran calidad dedicados a la enseñanza del inglés.
Y si te registras (es gratis), podras ver toda la serie de videos en cualquier momento.
El señor Vaughan es un gran maestro de inglés con una energia incomparable, que reconoce que el inglés es dificil, pero nos reporta muchas ventajas.
A partir de ahora existirá un link permanente a esta pagina en ENGLISH EXERCISES AND MORE (debajo de English Links, a la derecha de nuestra pagina)
viernes, 10 de agosto de 2007
BUGS BUNNY
The Hole - video powered by Metacafe
Mirar este tipo de dibujos animados de vez en cuando nos ayudará a mejorar nuestra comprensión del inglés.
Despues de todo aunque no entendamos ciertas frases no dejara de ser divertido.
viernes, 1 de junio de 2007
MALE VS. FEMALE
Este video nos muestra de una forma sencilla algunas diferencias importantes entre hombres y mujeres, algunas son ciertas, otras son exageradas.
¿Cuales son exageradas?
viernes, 25 de mayo de 2007
ALL NATIONS OF THE WORLD
En el siguiente video oiremos los nombres de todos los paises del mundo en inglés en menos de dos minutos, mientras vemos sus banderas.
A continuación el mismo video, pero ahora nos señalan los paises en el mapa.
Si quereis ver otra versión interpretada por un cantante. Haced click aqui.
Estos videos son algo antiguos. Asi que, como todos los años "nacen" nuevos paises, faltan bastantes.
A continuación el mismo video, pero ahora nos señalan los paises en el mapa.
Si quereis ver otra versión interpretada por un cantante. Haced click aqui.
Estos videos son algo antiguos. Asi que, como todos los años "nacen" nuevos paises, faltan bastantes.
viernes, 20 de abril de 2007
LEARN TO PHONY PHONE
Hay una encuesta que dice que el 25 % de las llamadas hechas por movil son falsas.
Hay personas que en lugares publicos le hablan a su movil, pero en realidad no estan hablando con nadie:
¿PORQUE HACEN ESTO?
Ver el video superior. Nos explicará la tecnica PHONY PHONE y sus multiples utilidades.
viernes, 23 de marzo de 2007
HOW TO SHOWER - WOMEN Vs. MEN
¿Como se duchan las mujeres?
¿Como se duchan los hombres?
Explicaciones con imagenes y en inglés.
viernes, 16 de febrero de 2007
BODY LANGUAGE
Este video lo han visto más de un millón de personas. Y nos explica algo muy importante: aparte de las palabras o sea el lenguaje oral, existe el lenguaje corporal.
Muchas veces no entendemos del todo lo que nos dicen pero gracias a la comprensión del lenguaje corporal podemos completar nuestra comprensión.
El lenguaje corporal no es igual en todo el mundo por lo que hay que aprender el lenguaje corporal que corresponde con el idioma que estamos estudiando.
Si os ha gustado este video podeis ver más en TERTULIA DE BCN
Muchas veces no entendemos del todo lo que nos dicen pero gracias a la comprensión del lenguaje corporal podemos completar nuestra comprensión.
El lenguaje corporal no es igual en todo el mundo por lo que hay que aprender el lenguaje corporal que corresponde con el idioma que estamos estudiando.
Si os ha gustado este video podeis ver más en TERTULIA DE BCN
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